View allAll Photos Tagged viewcamera
The Rock River looking south (downstream) from the Jefferson Street bridge. Rockford, Illinois.
Graflex Graphic View 4x5 / Zeiss Tessar 13.5cm in Compur shutter. Polaroid Instant 4x5 film back.
Polaroid Type 55 Positive/Negative film.
4x5 Kodak 160NC
This is part of a project.
This was my assistant for the day and as I was focusing in on the idea and I really liked his red shirt with the balloons so of course I had to take a picture.
Burlington's second oldest Church is St. John's. Built to serve the rural community of Nelson along the Dundas Road, it has always been an extension of St Luke's in the downtown. The parish still worships in their original building and only became a single-point charge in the 1980s.
Graflex Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Adox CHS 100 II @ ASA-100
Adox Atomal 49 (Stock) 5:45 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
Exposure
Derbyshire Peak District
2nd May 2021, 7.10am
Chamonix 810V, Rodenstock Apo-Sironar S 240mm f/5.6
Ilford FP4+ 125 (EI 64)
2” f/32⅔, 38mm front rise
Lee #23A red filter and 0.6 hard grad
Stearman Press SP810, Pyrocat HD 2:2:100, 6’50” for N-1
Acetic acid stop, TF4 Fix, Hypoclear
5th June 2021
Chemistry:
3ml Fotospeed Argyrotype Sensitizer with 1 drop let-down Tween 20, applied with Daler Rowney Skyflow Aquafine 3" Synthetic Brush.
Paper:
Bergger Cot320 11x14", dried 15mins, 50%RH, 20ºC, then sandwiched in cut-down Crystal Clear envelope, with neg on top.
Exposure:
Lotus 12x16" contact-printing frame; full sun 3'40", 11:15am
Wash:
5mins wash in distilled water/squeeze of lemon juice
5mins wash in tap water
3mins wash in hypo
1hr final soak (30mins each side) in tap water
Dried flat between boards
Digitisation: Nikon D800E/85PC-E tilt-shift (two-frame stitch)
Completed in 1905 the Brantford Station is the fourth station to serve this line, the first two being constructed by Buffalo & Lake Huron Railway and the next two by Grand Trunk. Designed as a propaganda piece to inspire confidence in the railway. Following the Picturesque aesthetic and incorporating Gothic, Romanesque, and Italianate details it is a grand example of turn-of-the-century architecture that would go on to inspire Guelph's Central Station. When Canadian National ceased passenger service, VIA rail took over operations and maintains it here today.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
On day 4 of my Zion fall color trip, I headed into the Virgin River Narrows at first light. This scene, Paradise Cove, was on my list for the day, but when I arrived there in the morning, the light was dull and flat. On my way back, however, I'd run out of color film. I stood there for several minutes contemplating the scene before deciding to go ahead and try to capture it on black and white film. To be honest this scene does a lot better on Velvia. The wall on the left is illuminated by orange glow of reflected light, and the trees are bright yellow cottonwoods. The cliff to the right is deep red sandstone, and the water is a pale teal color. But the textures and light are still very beautiful on black and white, and I'm glad I did make at least this one exposure of this scene. In post, I decided to crop the scan to a panoramic composition, as the subject elements are spread horizontally across the middle of the frame.
Intrepid 4x5" Field Camera, Schneider-Kreuznach 90mm f/8 Super-Angulon, front rise, 8s @ ƒ/22 on Fuji Acros 100 large format black and white sheet film.
This is my "test barn" that I shoot whenever I get new equipment or I'm trying new techniques. It offers some serious challenges to exposure because you are always fighting the sun and the front of the barn is almost always in shadow. I brought my older Calumet CC-401 4x5 out on this particular day in September when I was trying out shooting color negative film on the 4x5. As always, the scene posed a metering nightmare so I metered on the front and side of the barn and averaged that exposure out knowing I would have to compromise and give up the exposure of the sky because I had left my Grad ND filters at home, Grrrrrrrr.
The barn is located on Swamp Creek Road in Perkiomenville, a rural part of Montgomery County Pennsylvania.
Camera: Calumet CC-401 4x5 large format monorail view camera.
Lens: Rodenstock Geronar 150mm F6.3 lens in a Copal 0 shutter.
Film: Kodak Ektar 100 C41 Color Negative Film
Exposure: 1/4 second @ F45 with film rated at box speed. Metered with a Pentax 1 degree spot meter.
Development: Self Developed film using Tetenal C41 color development press kit in a Paterson Universal Tank using taco method, hung on shower curtain to dry on film clips.
Scanning: Negative scanned with Epson V600 in two scans and merged back together in PhotoShop since the V600 doesn't natively support 4x5 scans in one pass. Cropped in Lightroom 4.
This small trade card is a bit smaller than 1 1/2 X 2 1/2 inches. On one side a die cut leaf advertising the studio of Moser of Chicago has been pasted. The leaf has a two color background that I now know is called a "Victorian Wash". Thanks Alan Mays!
The reverse has a image of a bearded man (Mosher?) being photographed by a cupid under a dark cloth and text extolling his merits. Among these is a line "Specialties - Memorial Portraits for the 2nd Centennial." Now I have to find the cabinet card in our collection that came from this project. Stay Tuned.....
1905 Korona View - Schneider G-Claron 240mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
There are a couple of bird feeders out south of where I live, and also a drainage pond and other trails and woods. It's a nice peaceful spot and on that I have been using more so what better way to test out some old sheets of Panatomic-X that were gifted to me. This shot is the only one that worked.
Pacemaker Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Kodak Panatomic-X @ ASA-32
Kodak HC-110 Dil. H 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
White seaweed on sandstone. Sunset Cliffs San Diego c.1979
Toyo 45 G view camera with 210mm Fujinon lens on Kodak Tri-X 320
In the earliest days of colonisation of Upper Canada, a settlement relied on the Postal Service to communicate with the outside world. So when your community recieved a post office, you knew you were an established community. Oakville's first post office served from 1835 to 1856. The building was moved from the Southwest corner of Navy & Lakeshore in 1952 and restored as part of the early formation of the Oakville Historical Society.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Arista EDU.Ultra 400 @ ASA-200
Ilford Ilfotec HC (1+47) 7:30 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
CROP_ Domingo Milella, Kodak Portra 160 NC 8x10".
Drum Scan by CastorScan
-----
CastorScan's philosophy is completely oriented to provide the highest scan and postproduction
quality on the globe.
We work with artists, photographers, agencies, laboratories etc. who demand a state-of-the-art quality at reasonable prices.
Our workflow is fully manual and extremely meticulous in any stage.
We developed exclusive workflows and profilation systems to obtain unparallel results from our scanners not achievable through semi-automatic and usual workflows.
-----
Il servizio offerto da CastorScan è completamente orientato
a fornire la massima qualità di scansione e postproduzione sul
mercato internazionale.
Lavoriamo con artisti, fotografi, agenzie e laboratori che richiedono
una qualità allo Stato dell'Arte a prezzi ragionevoli.
Il nostro flusso di lavoro è completamente manuale ed estremamente meticoloso
in ogni sua fase.
Abbiamo sviluppato workflows e sistemi di profilatura esclusivi che ci consentono
di ottenere risultati impareggiabili dai nostri scanners, non raggiungibili
attraverso workflows semiautomatici e/o convenzionali.
-----
CastorScan uses the best scanners in circulation, Dainippon Screen SG-8060P Mark II, the best and most advanced scanner ever made, Kodak-Creo IQSmart 3, a high-end flatbed scanner, and Imacon 848.
The image quality offered by our Dainippon Screen 8060 scanner is much higher than that achievable with the best flatbed scanners or filmscanners dedicated and superior to that of scanners so-called "virtual drum" (Imacon – Hasselblad,) and, of course, vastly superior to that amateur or prosumer obtained with scanners such as Epson V750 etc .
Dainippon Screen SG-8060P Mark II exceeds in quality any other scanner, including Aztek Premier and ICG 380 (in the results, not just in the technical specifications).
8060's main features: 12000 dpi, Hi-Q Xenon lamp, 25 apertures, 2 micron
Aztek Premier's main features: 8000 dpi, halogen lamp, 18 apertures, 3 micron
ICG 380's main features: 12000 dpi, halogen lamp, 9 apertures, 4 micron
Some of the features that make the quality of our drum scanners better than any other existing scan system include:
The scans performed on a drum scanner are famous for their detail, depth and realism.
Scans are much cleaner and show fewer imperfections than scans obtained from CCD scanners, and thus save many hours of cleaning and spotting in postproduction.
Image acquisition by the drum scanner is optically similar to using a microscopic lens that scans the image point by point with extreme precision and without deformation or distortion of any kind, while other scanners use enlarger lenses (such as the Rodenstock-Linos Magnagon 75mm f8 used in the Hasselblad-Imacon scanners) and have transmission systems with rubber bands: this involves mild but effective micro-strain and micro-geometric image distortions and quality is not uniform between the center and edges.
Drum scanners are exempt from problems of flatness of the originals, since the same are mounted on a perfectly balanced transparent acrylic drum; on the contrary, the dedicated film scanners that scan slides or negatives in their plastic frames are subject to quite significant inaccuracies, as well as the Imacon-Hasselblad scanners, which have their own rubber and plastic holders: they do not guarantee the perfect flatness of the original and therefore a uniform definition between center and edge, especially with medium and large size originals, which instead are guaranteed by drum scanners.
Again, drum scanners allow scanning at high resolution over the entire surface of the cylinder, while for example the Hasselblad Imacon scans are limited to 3200 dpi in 120 format and 2000 dpi in 4x5" format (the resolution of nearly every CCD scanner in the market drops as the size of the original scanned is increased).
Drum scanners allow complete scanning of the whole negative, including the black-orange mask, perforations etc, while using many other scanners a certain percentage of the image is lost because it is covered by frames or holders.
Drum scanners use photomultiplier tubes to record the light signal, which are much more sensitive than CCDs and can record many more nuances and variations in contrast with a lower digital noise.
If you look at a monitor at 100% the detail in shadows and darker areas of a scan made with a CCD scanner, you will notice that the details are not recorded in a clear and clean way, and the colors are more opaque and less differentiated. Additionally the overall tones are much less rich and differentiated.
We would like to say a few words about an unscrupulous and deceitful use of technical specifications reported by many manufacturers of consumer and prosumer scanners; very often we read of scanners that promise cheap or relatively cheap “drum scanner” resolutions, 16 bits of color depth, extremely high DMAX: we would like to say that these “nominal” resolutions do not correspond to an actual optical resolution, so that even in low-resolution scanning you can see an enormous gap between drum scanners and these scanners in terms of detail, as well as in terms of DMAX, color range, realism, “quality” of grain. So very often when using these consumer-prosumer scanners at high resolutions, it is normal to get a disproportionate increase of file size in MB but not an increase of detail and quality.
To give a concrete example: a drum scan of a 24x36mm color negative film at 3500 dpi is much more defined than a scan made with mostly CCD scanner at 8000 dpi and a drum scan at 2500 dpi is dramatically clearer than a scan at 2500 dpi provided by a CCD scanner. So be aware and careful with incorrect advertisement.
Scans can be performed either dry or liquid-mounted. The wet mounting further improves cleanliness (helps to hide dirt, scratches and blemishes) and plasticity of the image without compromising the original, and in addition by mounting with liquid the film grain is greatly reduced and it looks much softer and more pleasant than the usual "harsh" grain resulting from dry scans.
We use Kami SMF 2001 liquid to mount the transparencies and Kami RC 2001 for cleaning the same. Kami SMF 2001 evaporates without leaving traces, unlike the traditional oil scans, ensuring maximum protection for your film. Out of ignorance some people prefer to avoid liquid scanning because they fear that their films will be dirty or damaged: this argument may be plausible only in reference to scans made using mineral oils, which have nothing to do with the specific professional products we use.
We strongly reiterate that your original is in no way compromised by our scanning liquid and will return as you have shipped it, if not cleaner.
With respect to scanning from slides:
Our scanners are carefully calibrated with the finest IT8 calibration targets in circulation and with special customized targets in order to ensure that each scan faithfully reproduces the original color richness even in the most subtle nuances, opening and maintaining detail in shadows and highlights. These color profiles allow our scanners to realize their full potential, so we guarantee our customers that even from a chromatic point of view our scans are noticeably better than similar scans made by mostly other scan services in the market.
In addition, we remind you that our 8060 drum scanner is able to read the deepest shadows of slides without digital noise and with much more detail than CCD scanners; also, the color range and color realism are far better.
With respect to scanning from color and bw negatives: we want to emphasize the superiority of our drum scans not only in scanning slides, but also in color and bw negative scanning (because of the orange mask and of very low contrast is extremely difficult for any ccd scanner to read the very slight tonal and contrast nuances in the color negative, while a perfectly profiled 8060 drum scanner – also through the analog gain/white calibration - can give back much more realistic images and true colors, sharper and more three-dimensional).
In spite of what many claim, a meticulous color profiling is essential not only for scanning slides, but also, and even more, for color negatives. Without it the scan of a color negative will produce chromatic errors rather significant, thus affecting the tonal balance and then the naturalness-pleasantness of the images.
More unique than rare, we do not use standardized profiles provided by the software to invert each specific negative film, because they do not take into account parameters and variables such as the type of development, the level of exposure, the type of light etc.,; at the same time we also avoid systems of "artificial intelligence" or other functions provided by semi-automatic scanning softwares, but instead we carry out the inversion in a full manual workflow for each individual picture.
In addition, scanning with Imacon-Hasselblad scanners we do not use their proprietary software - Flexcolor – to make color management and color inversion because we strongly believe that our alternative workflow provides much better results, and we are able to prove it with absolute clarity.
At each stage of the process we take care of meticulously adjusting the scanning parameters to the characteristics of the originals, to extrapolate the whole range of information possible from any image without "burning" or reductions in the tonal range, and strictly according to our customer's need and taste.
By default, we do not apply unsharp mask (USM) in our scans, except on request.
To scan reflective originals we follow the same guidelines and guarantee the same quality standard.
We guarantee the utmost thoroughness and expertise in the work of scanning and handling of the originals and we provide scans up to 12,000 dpi of resolution, at 16-bit, in RGB, GRAYSCALE, LAB or CMYK color mode; unless otherwise indicated, files are saved with Adobe RGB 1998 or ProPhoto RGB color profile.
This image (about 4 ¼ X 3 inches) has not had an easy life. It was glued down to a later cardboard frame and was much faded by time. I have given the contrast a boost so that we can enjoy its original (I think) charm.
Etherial Light beaming Above the Brook
Intrepid Camera 4x5 Mk 5 | Nikon Nikkor-W 90mm f4.5 | Fomapan 100 100
Digitized with Tripod over Lightsource | Raleno LED Light Panel | Placed between two 0.7mm acrylic sheets
Home developed in Adox XT-3 Replenished Stock | 20c 6m 30s | Ilford Standard Agitaion
Negative Lab Pro v2.4.2 | Color Model: None | Pre-Sat: 3 | Tone Profile: LAB - Standard | WB: None | LUT: None
I promised a stereopticon of the Union Pacific Cheyenne round house but, face it, this view at Sherman station is a lot more dynamic as a stereo view. I studied some of the old William Henry Jackson finished stereo views and they were saturated yellow so I shifted the balance of my old stereo original. I made it from an old Abraham Lincoln card. In Photoshop, I cleaned the images and titles from the old front and the text from the reverse for a blank to use at my will. The style mimics an original card pretty well. A while back I took some of my own views sepia toned and reproduced as stereo cards to an Estes Park historic meeting to display. One fellow loved my built up stereo cards and wanted to buy one swearing it was real prize. I replied that it I knew it was fake having just knocked it out and gave it to him. I assembled it from layers of parts and used pins, sand paper to round the corners and an Xacto to aged it. Scuffing them on a concrete floor does wonders too. I bet a microscope would detect the pixels. This construction was done in Photoshop but I like it pretty well and I might cobble an "original" up from parts and layers then age it properly for the Antiques Roadshow.
Here we are at the original station on the old grade of Sherman. The main line was rerouted south of here and Sherman was abandoned in 1901. I found and confirmed traces of the old roundhouse and depot by closely tracing the old line on Google maps near the Ames pyramid monument. I also found what may be remnants of the old wind mill. There are no Sherman remains today after UP drove the twin tunnels and regraded the line. All of the old route can be found by following the grade from here: www.google.com/maps/@41.1330231,-105.397293,137m/data=!3m...
This whistle stop looks pretty rustic in the late 1860s however it was certainly brand new with barrels between the rails and elsewhere. Barrels often transported new rail spikes before aging fine wine. The telegraph line was a bit crusty and one looks askew; it looks to be propped up by some ties. There are also unused piles of ties. All the right of way ties are random, fresh and hacked off, rough cut instead of the machine cut ties that came later. The view west shows several wooden buildings. Two men are on the platform next to the main line in front of the water tank down the line. This must be very few days or months since the crews graded and built here.
William Henry Jackson shot this historic place for the USGS "United States Geological Survey." It looks like he was heading west. This shot shows the effort it took grading over Sherman Hill, Dale Creek, Laramie and down to Green River.
This is the first exposure I've done with my new Deardorff 8x10 view camera and Kodak Ektar 12" lens. Film used was Ilford's Delta 100, exposed at 80 ASA (plus bellows extension factor added) and some reciprocity = 12 seconds, natural light. Processed in Xtol 1:1 for 10.5 minutes.
A thriving village located at the intersection of Dundas and Highway 25, originally founded as Hagartown in 1805. Named for the first settlers, the Hagar family who arrived from the United States. In 1836 it adopted the name Palermo, in honour of Horatio Nelson, Lord of Palermo. Population peaked at 300 and it had a wide range of farms and industries, including an iron foundry. Pictured here is the 1942 schoolhouse (built with materials from an earlier schoolhouse) is one of the several reminders of the village which was amalgamated into Oakville in 1962. Today the schoolhouse is home to the Trafalgar Township Historical Society.
Graflex Crown Graphic - Fuji Fujinon-W S 1:5.6/150 - Arista EDU.Ultra 400 @ ASA-200
Ilford Ilfotec HC (1+47) 7:30 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
Located on Hunter Street in downtown Hamilton, the GO Centre is an amazing example of the International Style, specifically Streamline Moderne. Designed by New York architects Fellheimer & Wagner for the Toronto, Hamilton & Buffalo Railway the new station opened in 1933 replacing the original TH&B Station. The station maintained operations under Canadian Pacific, who acquired full control of the railway in 1981 and ceased all passenger service. The station closed in 1987 as all TH&B operations ceased. GO Transit began limited operations in 1992 and restoration work on the station began in 1993. The new Hamilton GO Centre opened in 1996 with a near full restoration of the original elements, the second floor holds the original TH&B traffic control centre and a small museum.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Photographer: Paul van Bueren
Model: Valerie
Cambo SC-1
Fomapan 400
Copyright by Paul van Bueren
Want to work with me? Just let me know!
1897 Ak-sar-ben Camera - Eskofot Ultragon 305mm - f/64 - Fomapan 200 - 8x10 Film - HC110 1+100 - Unaltered Negative Scan
The James Street station is actually the third station to service Hamilton's original train line. Replacing two previous stations on the other side of James Street originally built by Great Western Railway and Grand Trunk Railway. The new Canadian National Station followed elements of Neoclassical design with Beaux-Arts and Art Deco elements. The grand station opened in 1931 with great fanfare and offered Hamilton residents a great deal of class with columned waiting rooms, terrazzo floors, brass ornamentation and a full dining room. By the 1960s passenger services had been cut and the mail and parcel wing began a freight car maintenance facility, and GO Transit took over commuter traffic in 1967. VIA Rail took a lease on the station in 1985, but move to Aldershot in 1992. GO Transit relocated to the Hunter Station in 1992 and Canadian National ceased all operations in 1993. The station only saw restoration thanks to the action film the Long Kiss Goodnight who in 1996 offered Canadian National a million for restoration. LIUNA ended up completing the work, putting an additional three million into the station, which reopened in 2000 as an event and banquet venue.
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
Rescanned and uploaded a better version 4/19/20. This one is lower in contrast, and looks more natural.
Darkroom Print. This is from probably the best negative that I've ever made. Print scans never seem to carry the impact that the originals have when viewed up close and personal, but that's the nature of the medium. I will, however, see if I can get my scanner to pony up at a later date, and I'll try this one again.
Camera: Deardorff 8x10.
Lens: 240mm Nikkor.
Film: Ilford HP5+ developed in 510 Pyro.
Contact Printed on Ilford MGIV RC. Selenium toned.
# #pnwexplored #cedarcreekcristmill #washingtonexplored #pacificnorthwest #garyquay #cascadiaexplored #outside #outdoors #washington #onlyinoregon #viewfromhere #largeformat #filmphotography #viewcamera #ilfprdphoto #8x10
My Web Site and Blog: Gary L. Quay Photography
My portfolio on Shutterstock
My portfolio on iStock
My portfolio on Adobe
Feel free to join my Flickr groups
and Flickr Today 2
©2013 Gary L. Quay
On this particular day in mid-May, the light was subtly fading to orange as the sun approached a cloud bank on the horizon. I had my camera set up just in time to snap a few pictures before it faded. It was a warm, peaceful evening on the coast--a rare event for spring on the Oregon Coast, and I wanted to convey that with this image.
Camera: Speed Graphic 4x5.
Lens: 127mm Kodak Ektar.
Film: Fuji Pro 400H
I wish I had a camera with front tilt for this one, but I may try again.
Uploaded a color corrected version 8/20/20. I was really trying hard to make it look more like a sunset for the original, but as the years went by, and computer monitors got better, the image on Flickr looked worse and worse. This time, I let the negative speak for itself.
# #pnwexplored #oregoncoast #oregonexplored #pacificnorthwest #garibaldi #garyquay #cascadiaexplored #outside #outdoors #oregon #onlyinoregon #viewfromhere #traveloregon #myoregon #speedgraphic #film #filmphotography #largeformat #viewcamera
My Web Site and Blog: Gary L. Quay Photography
My portfolio on Shutterstock
My portfolio on iStock
My portfolio on Adobe
Feel free to join my Flickr groups
and Flickr Today 2
Shot with Agfa HDR x-ray film, cut down to 13x18cm.
Super Angulon 90mm at f64 and 1"
Rodinal 1+100 at 22C for 8min in glass plated 10x12" tray.
Scan from negative, finished in PS.
White roses shot in the studio just before I disassembled the 5x7 for stripping, sanding and refinishing.
Technical details:
Burke and James 5x7" large format field camera.
300 mm Commercial-Astragon f6.3 Lens in Copal 3 shutter.
Arista EDU Ultra 200 B&W film (re-branded Fomapan), shot at ISO 160.
Exposure was 4 seconds at F32.
Lit by four fluorescent 80 watt bulbs inside a 28" Westcott Apollo softbox placed camera left and a 30" white reflector bouncing light back onto the flowers from camera right.
Developed in Ilford DD-X 1+4 dilution for 6 minutes and 50 seconds @ 20 degrees Celsius using a Beseler 8x10 print drum placed on Unicolor Uniroller 352 auto-reversing rotary base.
5x7" negative scanned with Epson V600 in three pieces then merged together using PhotoMerge in Photoshop.
Slightly warm-toned in post.
contactprint from 8x10’ Foma film
Printed on Arches paper with Ziatype process
.
.
#parconazionaleabruzzo
"Easter Greetings." An Easter postcard, trimmed at the top and postmarked 1909 on the back. This postcard was published as one in a series of photography-themed Easter postcards. For other cards in the series, see Photo_History's Easter Postcards of Boy with Camera and Rabbit.
©2021 Gary L. Quay
I don't know why, but the Ocilloscope was on, and I had generated a sine wave with an audio generator, and yet it didn't show up in the picture. This film should have been sensitive to green. Still, this is the project I'm working on. This was a test for part of the setup. I want to create a mad scientist mini lab to use as a prop for portraits.
The negative turned out really well. The alchemy gods did smile upon my darkroom on this day.
Camera: Calumet C-1.
Lens: 11" Hyatt's Rapid (1888)
Film: Ilford Ortho+ developed in 510-Pyro.
# #madscientist #garyquay #largeformat #viewcamera #ilfordphoto #stilllife #510-pyro #calumetc1
My Website and Blog: Gary L. Quay Photography
My stock portfolio on Shutterstock
My stock portfolio on iStock
My stock portfolio on Adobe
Feel free to join my Flickr groups
and Flickr Today 2
4x5 shot on HP5 sheet film. Developed in Df96 and scanned with an Epson V850 as DNG. Converted to positive with Negative Lab Pro in Lightroom.
Light: 150cm indirect Octabox camera left, 20cm gridded dish on backdrop. Triggered with Skyport.
“Sleeping Beauty”
Zion National Park becomes a completely different place in the Winter. It is always filled with beautiful juxtapositions, and winter brings out a whole new set variety of these combinations of texture and tone. In this scene, a snow covered evergreen tree is juxtaposed against a brilliant red sandstone wall forming a beautiful palette of reds, greens, grays and whites that evokes the feeling of Christmas.
On this week-long road trip, I camped, explored and photographed all over Zion National Park and Bryce Canyon National Park in the depths of winter with my large format 4x5” view camera and a large supply of film during the week between Christmas and New Years. This was my first major experience camping for an extended time in frigid winter temperatures, and it went quite well. My gear performed excellently, and I was able to stay warm and comfortable for a week outdoors with nighttime temperatures ranging on average from 14-22 degrees F. On this trip I also experimented with different films including Ilford FP4+, Fuji Provia 100F, and a box of expired Fuji NPS from 2003. All of them performed admirably, and I was quite pleased with the results! This image is from the Provia.
Intrepid 4x5” Field Camera
Fuji Provia 100F
Fujinon W 180mm ƒ/5.6
1.5s @ ƒ/45, front standard rise
If you don't follow me on Instagram or Facebook, you can follow me there to see a behind the scenes video from this image! Instagram.com/lowerylandscapes or facebook.com/lowerylandscapes
Graflex Graphic View II. Rodenstock Sironar 240mm f5.6. Ilford HP5. D76 1:1 13min at 20C. Epson V750 at 2400 ppi.
1905 Korona View - Kodak Commerical Ektar 213mm - f/45 - Fomapan 100 - 5x7 Film - HC110 1+100 - Unaltered Negative Scan
This is a detail of the lower right corner of a cabinet card I have posted from our collection. I believe that the card reads "Chas. A. Gates, Photo. Over Post Office, Watkins, N.Y."
If any flickr poster has information on a Gates working in Watkins, NY in the 19th century I would be glad to hear about it.
1891 Rochester Optical Company Universal - G-Claron (Dagor Type) 210mm - f/45 - Fomapan 100 - 4x5 Film - HC 110 1+100 - Unaltered Negative Scan
Completed in 1856, the Port Hope Station is a Grand Trunk Class B Wayside Station with a six-bay design. Constructed of local limestone in the Italianate Style, the station saw the addition of a telegraph bay in 1881. While threatened with demolition in 1978, funding mean for the construction of a new simple shelter by Canadian National instead went towards restoration in 1980. Today it is one of only two operational Grand Trunk Stations and one of nine surviving original GTR stations in Ontario.
Crown Graphic - Nikon Nikkor-W 180mm 1:5.6 - Ilford HP5+ @ ASA-200
Pyrocat-HD (1+1+100) 9:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
ICA Toska 9X12cm Plate Camera with a Doppel - Periskop 135mm f/11 lens in a Zenith shutter. It has rise and fall movement of the lens and extension bellows for closeups. I believe this model is from 1910. I had to do some repairs like re-attaching the bellows in the back and some cleaning, otherwise it seems to function great.
1905 Korona View - Schneider G-Claron 240mm - f/45 - Fomapan 100 - 5x7 Film - HC 110 1+100 - Unaltered Negative Scan
Milton's lone war trophy is a German 77mm Field Gun (FK16), captured 28 September 1918 on the Arras-Cambrai Road by the 3rd Canadian Infantry Battalion during a period known to history as "Canada's Hundred Days" these were the last 100 days of World War One leading up to the ceasefire on 11 November 1918. The gun arrived in Milton in the post-war years between 1919 and 1921.
Crown Graphic - Schneider-Kreuznach Symmar-S 1:5.6/210 - Ilford FP4+ @ ASA-64
Pyrocat-HD (1+1+100) 8:00 @ 20C
Meter: Pentax Spotmeter V
Scanner: Epson V700
Editor: Adobe Photoshop CC
While not a bad set, they certainly aren't my favourites. But I don't completely blame the developer. I was shooting a hard light, often falling directly on the subject. I still get some mid-tones, but it is significantly compressed. The grain is low, but edge sharpness is retained.
You can read the full review online:
www.alexluyckx.com/blog/2023/09/11/film-review-blog-no-99...
Graflex Crown Graphic - Fuji Fujinon-W 1:5.6/125 - CatLABS X Film 80 II @ ASA-80
Kodak TMax Developer (1+4) 6:30 @ 20C
Meter: ReveniLabs Spot Meter
Scanner: Epson V700 + Silverfast 9 SE
Editor: Adobe Photoshop CC
Johnston, Frances Benjamin,, 1864-1952,, photographer.
[Two unidentified women being photographed]
[ca. 1890]
1 photographic print : cyanotype.
Notes:
The women in the portrait were formerly misidentified as the Allen sisters, photographers of Deerfield, MA.
Title devised by Library staff.
Photograph showing two women in profile, posing for a portrait. Includes the photographer and camera, an assistant holding a white tablecloth to reflect light, and a mirror revealing more of the people in the room.
Forms part of: Frances Benjamin Johnston Collection (Library of Congress).
Subjects:
Photography--1890-1900.
Photographers--1890-1900.
Posing--1890-1900.
Format: Group portraits--1890-1900.
Portrait photographs--1890-1900.
Cyanotypes--1890-1900.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
For more information about this collection, see www.loc.gov/pictures/collection/fbj
Persistent URL: hdl.loc.gov/loc.pnp/ppmsc.04883
Call Number: LOT 11734-3 [item]